Iowa is the second major label studio album by American heavy metal band, Slipknot. Released by Roadrunner Records on August 28, 2001, it was produced by Ross Robinson and Slipknot. The title derives from the band's home state, Iowa, which members have stated is one of their greatest sources of inspiration. With much anticipation for the band's second album following on the success of their 1999 self-titled debut, pressures on the band were high. Their relationships with each other suffered and was later described as the darkest time of their career.[1] It was also the first time that guitarist Jim Root had been significantly involved in a Slipknot album due to his joining very late in recording of their debut album, as Root was only featured on two songs from that release. Despite troubles within the band and with Iowa's development, Slipknot promoted it for almost a year.

Iowa was a major success, premiering in the top ten album sales charts in nine countries. Generally positively received, it includes some of their notable songs, such as "Disasterpiece", "The Heretic Anthem", "People = Shit" and the two Grammy-nominated songs "Left Behind" and the remix of "My Plague". Critic John Mulvey proclaimed the album as the "absolute triumph of nu metal".[2] While more technical than their debut album, Iowa is considered to be the band's heaviest and darkest. It has been certified platinum in the United States and Canada. A special edition of Iowa was reissued on November 1, 2011 to celebrate the tenth anniversary of the record. It was accompanied by a full live audio of the hit DVD Disasterpieces and a film entitled Goat directed by Shawn Crahan with the four music videos, never-seen-before interviews and footage from the Iowa period.[3]

Iowa was recorded and produced at Sound City and Sound Image studios in Los Angeles, California with producer Ross Robinson, who had produced their debut album.[4] Drummer Joey Jordison and bassist Paul Gray began working on new music together in October 2000 and together they wrote material for most of the tracks on the album.[5] During this time other band members wanted a break following the extensive touring which followed their self-titled debut album.[5] However, on January 17, 2001, Slipknot entered the studio to begin recording Iowa.[6][7] This period in the band's career has become known as one of their worst for several reasons. Jordison stated retrospectively, "that's where we got into a war" citing the lack of a break for himself and Gray.[5] While other factors, including: vocalist Corey Taylor's alcohol addiction, several other members' drug addictions, management issues and more, affected relations in the band.[1]

Despite being a member of Slipknot since 1999, it was the first album where guitarist Jim Root had been significantly involved.[8] He had joined them during the later recording stages of Slipknot and subsequently became more involved with this album.[6] During an interview with Guitar magazine in November 2001 he explained, "it was so exciting as well as scary to be part of this whole huge process", adding that there was a lot of pressure from fellow guitarist Mick Thomson to perform well on the record.[8] In an interview with FHM in December 2001, vocalist Corey Taylor revealed that he put himself in specific situations to achieve his performance on the album.[9] While recording vocals for the final song "Iowa" he was completely naked, vomiting all over himself and cutting himself with broken glass. Explaining this, he said, "that's where the best stuff comes from. You've got to break yourself down before you can build something great."[9] While producing the album, Ross Robinson was injured from a dirt bike accident, fracturing his back. He returned to the studio after a day of hospital treatment, reportedly "putting all of his pain into the album", much to the admiration of the band.[1]

There was speculation over the title before its announcement with Nine Men, One Mission as the expected title in some sources.[6]Iowa was later announced as its title and was named after the band's home state of Iowa. Band members have claimed that Iowa is the source of their energy and they consciously made the decision to stay in the area, partly due to the fear of losing their creative direction.[4] The opening track "(515)" is also a reference to their home state, named after the telephone area code for central Iowa.[10] Initially the album was scheduled for release on June 19, 2001, and was to be preceded by a five-date warm-up tour.[11] However, the mixing of the album took longer than anticipated, causing the album's release to be delayed and the cancellation of the tour.[11][12] The album was officially released on August 28, 2001.[13] In support of the album, Slipknot began touring on their Iowa World Tour. This included: a spot on Ozzfest in 2001,[14] an American co-headlining tour with System of a Down,[7] as well as tours in Japan, Europe and elsewhere.[15][16][17][18]

Prior to the album's release, Slipknot gave away copies of "Heretic Song", titled "The Heretic Anthem" on the album, free on their website and was limited to a quantity of 666 copies to coincide with the song's chorus; "If you're 555, then I'm 666." The giveaway began May 15, 2001, and lasted until copies sold out.[19][20] The first official single released from the album was "Left Behind". In 2002, the band made a special appearance in the film Rollerball in which they performed "I Am Hated".[19] Following this, a second single from the album was released, "My Plague", which appeared on the soundtrack for the film Resident Evil.[21]

Prior to its release, band members promised a much darker and heavier album than Slipknot, and many sources praised the band for achieving this – effectively fulfilling their promises.[12] During an interview in 2008, percussionist Shawn Crahan retrospectively evaluated their time creating the album, proclaiming that they owe their overtly darker sound to their state of mind during that period: "When we did Iowa, we hated each other. We hated the world; the world hated us."[22]Iowa, unlike its predecessor, saw Robinson capturing the band's technicality as opposed to the raw energy for which Slipknot is known.[23] The band was also praised for its use of an extended line-up consisting of additional percussionists and electronics. NME stated that "every possible space is covered in scrawl and cymbals: guitars, percussion, electronic squall, subhuman screaming."[23] Although Iowa is widely regarded as the band's heaviest album to date, some tracks do include melody, most apparent in "Everything Ends" and "Left Behind"; however these tracks are still far heavier when compared to the likes of "Circle", "Danger-Keep Away", "Snuff", "Vermilion", "Goodbye" or "Dead Memories".[2]

Iowa follows the lyrical style that vocalist Corey Taylor established on Slipknot's debut album; it includes strong use of metaphors to describe overtly dark themes including misanthropy, solipsism, disgust, anger, disaffection, psychosis and rejection.[23][24] The album also includes many expletives; David Fricke of the Rolling Stone magazine said "there isn't much shock value left in the words fuck and shit, which Taylor uses in some variation more than forty times in Iowa's sixty-six minutes."[24] Fricke went on to praise Taylor's performance on the track "Iowa", comparing it to a "vivid evocation of a makeshift-cornfield grave at midnight."[24]

Following the mass success of the band's self-titled album, author Dick Porter wrote that the anticipation for a follow up was intense.[7] Prior to its release, drummer Jordison proclaimed: "Wait till you hear our fuckin' next record. It smokes our first album. The shit's twice as technical, three times as heavy."[12] The College Music Journal reviewed it as "brutal, unrelenting, scorching..."[30] Many reviews noted its heavy themes, the Alternative Press stated, "[it is] like having a plastic bag taped over your head for an hour while Satan uses your scrotum as a speedbag....[It] is over the top...you're going to be left in stitches."[31]NME said that it is "Exhilarating, brutal and good."[23]Rolling Stone credited the album for its originality, stating that "nearly everything else in modern doom rock sounds banal."[32] Producer Robinson was also praised for his work on the album; Uncut noted, "The barely relenting, tumbling noise attack marshalled by nu metal uber-producer Ross Robinson is expert."[33] Reviewing for Yahoo, John Mulvey said, "They're an evolutionary dead end, the final, absolute triumph of nu metal."[2]